宫崎骏在《千与千寻》欧洲首映式上的访谈
2001.12
翻译：icytear
所有翻译均为动画爱好者交流所用，版权归原作者及所属媒体所有
翻译部分未经允许，请勿转载.
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作为日本杰出的漫画家，宫崎骏的地位是无可置疑的。在《红猪》和《幽灵公主》获得巨大成功之后，即使是隐退的诱惑也没能阻止这位吉卜力工作室最著名的创始人发表他的新作《千与千寻》――这也许将成为日本历史上最成功的电影。
以下的访问是2001年12月下旬《千与千寻》巴黎首映时宫崎骏在新闻发布会上的访谈，在本届电影节上法国Government授予了宫崎骏法国最高文化荣誉――文学艺术奖。
问：您的影片都是在没有剧本的情况下制作的吗？
答：是这样的。开始制作一部影片时，我脑海中还没有成形的故事情节。通常我也没有那个时间。所以故事情节总是在我开始绘制脚本时发展起来。之后制作工作也迅速开展，而脚本则仍在绘制当中。我们根本不知道故事会向什么方向发展，只是按着它自己的发展继续工作着。这对于制作动画电影是一种相当危险的方式，而我也想换一种方式；但很遗憾，这就是我的工作方式而其他人也“被迫”接受了这种方式。
问：但是如果用这种方式，我想把情感植入角色之中是至关重要的。
答：把我的感情植入角色不是最重要的，反而是影片的既定长度更关键。我们应该把片子制成什么长度？是三个小时还是四个小时？这是个很重要的问题。我总是和制作人争论这个问题，而他常常问我是不是还要把进度再拖一年。事实上，他当然无意再“宽限”我一年，他这么说只是“恐吓”我继续回到工作上去。我当然也不想奴隶一般把工作时间再拖长一年。所以每次他说完这个，我通常就会更集中精神以更快的速度重新投入工作。在导演过程中我坚持的另一项原则是充分利用好助手创作的所有东西。即使他们的前景和我的背景不太符合，我也不会浪费，总能把它们很好的利用起来。
问：所以一旦一个角色被创造出来，就从来不会中途退出，总是能一直走到片子最后吗？
答：兜兜转转反反复复，人物角色就在这种来回的思考中诞生。此时我在脑海中已经形成了人物的轮廓。而自己仿佛也化身为这些角色，一次又一次的身临其境。之后我才开始绘制人物形象，而且仍是一遍又一遍的改动。（所以）我总是刚好在截至日期完成工作。
问：既然您和您笔下的角色都有着亲身的联系，那怎样解释您作品中大部分的主角都是少女呢？
答：如果在这里回答这个问题，那答案一定是复杂而冗长的。所以我就说因为我非常非常爱慕女士们吧。（大笑）
问：《千与千寻》的主角荻野千寻和您以前片子中的女性领导角色很不相同。她并不那么勇敢，对于创作她的动机和背景我们也没有太多的了解。
答：我并没有刻意把千寻塑造成如此，因为现在日本就有许多这样的女孩。她们对父母为给她们幸福所作的努力完全视而不见。在电影中有一幕是千寻对父母的呼喊并不理会，直到父母第二次呼喊时她才回应。我的很多同事都让我把这个过程弄到３次，因为当今的许多女孩正是如此，她们从不会立即回应父母的呼喊。创作本片是因为我意识到并没有专门为成长阶段10岁大的女孩创作的片子。正是在观察我朋友的女儿时我发现市面上还没有为她准备的电影，没有可以直接与她沟通的作品。当然，女孩子们也看一些有她们同龄人的片子，但是并不能产生共鸣；因为那些都是凭空想像的角色，与真实的她们根本不相同。
我想通过《千与千寻》对她们说，“别担心，最终一切都会好的，一定有属于你们的世界”。不仅仅是在电影院中，也是在日常生活中也。因此，用一个普通的女孩而不是一个会飞或者会创造奇迹的女孩作片子的女主角就很有必要。就是一个你在日本随处可见的女孩。当我写写画画一些和千寻有关的东西，我就会问我自己，我朋友的女儿能不能做到这件事情呢。这就是我每次在情节上给千寻新任务新挑战时的标准。在克服这些困难的过程中，这个日本小女孩长成了一个真正有用的人。我花了三年世间创作这部电影，所以现在我朋友的女儿现在已经13岁了，但她仍十分喜欢这部片子，这让我相当欢喜。
问：既然您说您开始绘制脚本的时候并不知道故事的结局，那您有没有遵循一种特定的方法或规律来引导自己勾画出故事的结局呢？
答：是的，确实有这样一种内在的规律，那就是故事本身的需要――这是这一点引导我寻到结局。比如《千与千寻》中有１４１５个镜头。刚开始制作的时候，我计划大约有1200个，但是故事情节却告诉我，他需要多于1200个镜头来表达。这时候制作片子的仿佛已经不再是我，而是故事本身，我，只能跟随故事的脚步而别无选择。
问：在您很多作品中都能找到的主题又在《千与千寻》中重现了，特别是怀旧情结。您怎样看待这部片子和您以前作品的关系？
答：这个问题有难度。我认为怀旧有很多种表现形式，这不仅仅是成人的特权。成人在生命的特定时期会产生怀旧的情绪，但我相信孩子们也会怀旧。这是人类最能产生共鸣的感情之一。它是构成我们人类的元素之一，因为怀旧情绪产生之时很难用语言表达。正是在观看塔尔科夫斯基的《怀旧》时我发现原来怀旧情绪是普遍存在的。虽然我们把“怀旧”这个词用在日本，其实这个词并不是日语。不会说外语并不妨碍我理解这部片子，这更说明了怀旧是足以引起我们共鸣的。生存着，失去着，这是生命的真谛。所以人类产生怀旧情绪是最自然不过的。
问：和您从前的作品相比，《千与千寻》最震撼我的地方就是您是作为该片真正原创的作者的。有一种感觉就是，您可以随意构筑自己的电影和故事，甚至脱离逻辑的束缚。
答：逻辑用在大脑的前部，仅此而已。拍电影不能靠逻辑。或者说如果你换个角度看，任何人都可以用逻辑拍电影。但是我的方式是不用逻辑的。我试图挖掘自己的下意识。在那个过程的某个时刻，思维之泉被打开，各式各样的观点和想法奔涌而出。带着这些观点和想法，我开始了电影的制作；但也许不完全打开思维之泉是更好的，因为一旦你释放了自己的下意识，过正常的社会生活或者家庭生活就变的很困难。
我相信人类大脑的认知能力比我们想像的要强的多。我大脑的前部给我的信号没有给迹象表明我处理电影场景要按照观众的方式。比如，按照我的想法，《千与千寻》的结尾就是千寻一个人上了火车的那幕，对我来说故事在那里就已经结束了。我清楚的记得我第一次一个人坐火车的情景和感受。要把这种想法搬上荧幕，很重要的一点就是不能有火车车窗外的任何镜头，无论是山川还是森林。大部分能记得自己第一次独自火车旅行的人都绝不会记得窗外的风景，因为当时他们全部的注意力都集中在旅行本身了。所以为了表达这一点，必须不能有窗外的画面。但是我在这个场景之前作了一些设定，一场雨水让风景被汪洋覆盖。但我这么做的时候根本不知道自己为何如此。直到我看到了火车那一幕，我才庆幸的对自己说“我把外面弄成一片汪洋是多么侥幸啊”。在制作这个场景的时候我发觉自己完全是在一种无意识的状态下工作的。在影片的创作过程中，有更多深刻的东西比简单的逻辑起了更大的作用。
问：您的许多片子都是以西方或者欧洲为背景的，比如《天空之城》和《红猪》；其他的则是绝对纯正的日本背景。您是根据什么来确定既定影片的背景呢？
答：我的脑海中储存了大量的风景影像和绘画作为电影的原材料。究竟选择哪种景象则完全取决于着手工作的那段时间。这通常是由我和我的助手商量而定，所以那个阶段的确很关键。因为早在动念那刻起，我就一直在收集资料。我携带了大量行李去旅行；我的脑海中有很多自己想要描绘那个世界的生活场景。比如《千与千寻》中把背景设定在浴室是我从很小的时候进入公共浴室起就一直在思考的问题。在开始创作《龙猫》时，创作一部以大森林为背景的片子这一想法已在我脑海中徘徊了13年。《天空之城》也是一样，我第一次动念运用这个场景已经是着手制作电影之前很多年的事情。所以我总是随身携带这些念头和影像，在开始制作电影的时候就可以自主选择。
问：与我们在西方了解到的一些日本动漫家不同，您的片子总是表达积极、希望、上苍赐福的信仰的理念。这是您有意识添加到电影中的吗？
答：事实上，我是一个悲观主义者。但制作片子时，我不想把自己的悲观情绪传递给孩子们。我把它停泊在自己的港湾。我觉得成人不能把自己的世界观强加给孩子们，孩子们完全有能力形成自己的观点。没有必要把我们的观点强加给他们。
问：所以您觉得您的片子都是为孩子们准备的？
答：我从未说过《红猪》是写给孩子们的片子。但是除了《红猪》，我所有的电影都是主要为孩子们准备的。已经有很多其他人能为成人制作电影了，所以我把那个领域留给他们，而把自己的注意力集中在孩子身上。
问：但是仍然有很多欣赏你作品的成人从中得到很多乐趣。
答：当然，那也给我带来很多快乐。简单的说，我觉得特别为孩子们准备并且充满爱意的片子也能娱乐成人。但反过来却并非总是如此。成人影片和儿童影片唯一的区别就是，在写给孩子们的片子中，一切都可以从头开始，获得新生。而在给成人的片子中，人们总是无力改变现实。事情发生了，就只能这样了。
问：您觉得您讲故事的独特方式对我们人类很必要吗？
答：我不是一个讲故事的人，我只是个画画的（大笑）。但是，我的确相信故事的力量。我相信故事在人类的形成过程中发挥了重要的作用，给故事的聆听者激励、震撼、启发。
问：你认为在讲述童话故事时幻想是很必要的吗？
答：我觉得带着想像意味的幻想是很重要的。我们不需要太执著于日常的真实情况，而要给心灵的真实、思维的真实以及想像力的真实一个空间。这些东西在生活中可以帮助我们。但在运用这些文字上的幻想时一定要慎重。在日本，文字幻想已经被运用到各个领域，从电视节目到游戏，简直就是虚拟的真实。但是虚拟的真实是对真实的否定。这种虚拟的真实会束缚人们。这种想像世界和真实世界的平衡关系也让我在工作中步履维艰，进退两难
问：在《千与千寻》和《红猪》里都有变成猪的人。这种对“猪”的“青睐”来自哪里呢？
答：那是因为猪比骆驼或者长颈鹿要好画的多啊！（大笑）我觉得猪的形象和我所要表达的东西很贴切。猪的行为其实和人类的行为很相似。说心里话，我真的非常喜欢猪，喜欢他们的力量，也喜欢他们的缺点。我们圆滚滚的肚子看起来真的很像猪啊。猪和人类就是如此相近。
问：腐河神究竟是什么？取材于日本神话吗？
答：不是的。那不是来源于神话，而是我个人的经历。在我居住的乡村附近有一条河流。当他们清理河道的时候我们才看到河底究竟是些什么――全是腐烂的泥巴。河里有一辆轮子突出水面的自行车，他们以为很容易就能拖出来，但事实上这非常难！因为积累了这么多年的泥沙让车子变得如此沉重。现在人们开始清理河道，鱼儿慢慢的回来了――原来并不是所有的东西都失去了。但他们挖出来的东西还真是相当难闻啊。那些年，人人都往河里丢垃圾，所以河里简直是一塌糊涂。
问：您的电影中有表达整部片子主题的关键镜头吗？
答：由于我本人是那种开始工作前对故事情节没有清晰概况的人，所以每个单独的镜头都可以称为关键镜头。在千寻的父母变成猪的那一幕是影片那个时段的关键镜头；但那之后下一个镜头又成了最关键镜头，依此类推。在千寻大哭那一幕，我故意把泪珠弄的大大的，像喷泉一样的奔涌。但我没能成功的把那个镜头按照自己的想像形象化出来。所以根本没有中心镜头，因为每一个镜头的创造都有他特定的目的，能够对随后的镜头产生影响。
但《千与千寻》中有两个可以用来象征全篇的镜头。一个是开篇在车子的后座，那时千寻还是一个如此脆弱的小女孩；另一幕是在结尾，她已经充满生气的面对着整个世界。这就是千寻性格发展的两个特写。
问：您受到了来自哪方的影响，比如其他电影和导演？
答：我们的思想是在50年代的电影和制作人影响下形成的。那时候我刚开始广泛涉猎电影。其中对我影响最大的制作人是法国漫画家Paul Grimault。但是我观看了世界各地的许多片子，通常记不住导演的名字。所以很抱歉我不能一一指出其他导演的名字。另外一部对我产生巨大影响的片子是俄国的《白雪皇后》。我很敬佩的同时代动画导演有俄罗斯的Yuri Nordstein 和加拿大的Frederick Bach。.特别是Nordstein――他才是真正配拥有艺术家这个头衔的人。
问：您的下一步计划是什么？现在手头有工作吗？
答：近期我们的美术馆要正式开放。也许用“MUSEUM”是大词小用，因为那里更像是我们展览工作室部分作品的小屋子。美术馆内部还有一个小型剧院，用来放映专门为美术馆制作的短片。我还负责监督年轻导演Hiroyuki Morita的一部新片，这部片子应该是明年夏天在日本公映。监督其他导演的片子其实很难，因为他总是想用与我不同的方式做事。这真是对耐心的考验啊
问：《千与千寻》在日本那令人难以置信的影响力是否会让你工作的方式产生变化？
答：没有。其实我们从不知道一部片子的效果究竟如何，是成功还是失败，是否能触动观众的心灵。我总是对自己说，无论发生了什么，无论观众反应如何，我也不会让结果影响到我的工作方式。而在取得了巨大成功的时候改变方法更是很愚蠢的事情。毕竟这说明我的方法是很好的啊。（大笑）
英文原文 Is it true that your films are all made without a script?
That's true. I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. The production starts very soon thereafter, while the storyboards are still developing. We never know where the story will go but we just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
But for that to work I can imagine it would be essential to have a lot of empathy with your characters.
What matters most is not my empathy with the characters, but the intended length of the film. How long should we make the film? Should it be three hours long or four? That's the big problem. I often argue about this with my producer and he usually asks me if I would like to extend the production schedule by an extra year. In fact, he has no intention of giving me an extra year, but he just says it to scare me and make me return to my work. I really don't want to be a slave to my work by working a year longer than it already takes, so after he says this I usually return to work with more concentration and at a much faster pace. Another principal I adhere to when directing, is that I make good use of everything my staff creates. Even if they make foregrounds that don't quite fit with my backgrounds, I never waste it and try to find the best use for it.
So once a character has been created, it's never dropped from the story and always ends up in the final film?
The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character myself and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.
With that very personal connection you have with your characters, how do you explain that the main characters in most of your films are young girls?
That would be far too complicated and lengthy an answer to state here, so I'll just suffice by saying that it's because I love women very much (laughs).
Spirited Away's lead character Chihiro seems to be a different type of heroine than the female leads in your previous films. She is less obviously heroic, and we don't get to know much about her motivation or background.
I haven't chosen to just make the character of Chihiro likes this, it's because there are many young girls in Japan right now who are like that. They are more and more insensitive to the efforts that their parents are making to keep them happy. There's a scene in which Chihiro doesn't react when her father calls her name. It's only after the second time he calls that she replies. Many of my staff told me to make it three times instead of two, because that's what many girls are like these days. They don't immediately react to the call of the parents. What made me decide to make this film was the realisation that there are no films made for that age group of ten-year old girls. It was through observing the daughter of a friend that I realised there were no films out there for her, no films that directly spoke to her. Certainly, girls like her see films that contain characters their age, but they can't identify with them, because they are imaginary characters that don't resemble them at all.
With Spirited Away I wanted to say to them "don't worry, it will be alright in the end, there will be something for you", not just in cinema, but also in everyday life. For that it was necessary to have a heroine who was an ordinary girl, not someone who could fly or do something impossible. Just a girl you can encounter everywhere in Japan. Every time I wrote or drew something concerning the character of Chihiro and her actions, I asked myself the question whether my friend's daughter or her friends would be capable of doing it. That was my criteria for every scene in which I gave Chihiro another task or challenge. Because it's through surmounting these challenges that this little Japanese girl becomes a capable person. It took me three years to make this film, so now my friend's daughter is thirteen years old rather than ten, but she still loved the film and that made me very happy.
Since you say you don't know what the ending of a story will be when you start drawing storyboards, is there a certain method or order you adhere to in order to arrive at the story's conclusion?
Yes, there is an internal order, the demands of the story itself, which lead me to the conclusion. There are 1415 different shots in Spirited Away. When starting the project, I had envisioned about 1200, but the film told me no, it had to be more than 1200. It's not me who makes the film. The film makes itself and I have no choice but to follow.
We can see several recurring themes in your work that are again present in Spirited Away, specifically the theme of nostalgia. How do you see this film in relation to your previous work?
That's a difficult question. I believe nostalgia has many appearances and that it's not just the privilege of adults. An adult can feel nostalgia for a specific time in their lives, but I think children too can have nostalgia. It's one of mankind's most shared emotions. It's one of the things that makes us human and because if that it's difficult to define. It was when I saw the film Nostalghia by Tarkovsky that I realised that nostalgia is universal. Even though we use it in Japan, the word 'nostalgia' is not a Japanese word. The fact that I can understand that film even though I don't speak a foreign language means that nostalgia is something we all share. When you live, you lose things. It's a fact of life. So it's natural for everyone to have nostalgia.
What strikes me about Spirited Away compared to your previous films is a real freedom of the author. A feeling that you can take the film and the story anywhere you wish, independent of logic, even.
Logic is using the front part of the brain, that's all. But you can't make a film with logic. Or if you look at it differently, everybody can make a film with logic. But my way is to not use logic. I try to dig deep into the well of my subconscious. At a certain moment in that process, the lid is opened and very different ideas and visions are liberated. With those I can start making a film. But maybe it's better that you don't open that lid completely, because if you release your subconscious it becomes really hard to live a social or family life.
I believe the human brain knows and perceives more than we ourselves realise. The front of my brain doesn't send me any signals that I should handle a scene in a certain way for the sake of the audience. For instance, what for me constitutes the end of the film, is the scene in which Chihiro takes the train all by herself. That's where the film ends for me. I remember the first time I took the train alone and what my feelings were at the time. To bring those feelings across in the scene, it was important to not have a view through the window of the train, like mountains or a forest. Most people who can remember the first time they took the train all by themselves, remember absolutely nothing of the landscapes outside the train because they are so focused on the ride itself. So to express that, there had to be no view from the train. But I had created the conditions for it in the previous scenes, when it rains and the landscape is covered by water as a result. But I did that without knowing the reason for it until I arrived at the scene with the train, at which moment I said to myself "How lucky that I made this an ocean" (laughs). It's while working on that scene that I realised that I work in a non-conscious way. There are more profound things than simply logic that guide the creation of the story.
You have made many films that are set in Western or European landscapes, for instance Laputa and Porco Rosso. Others are set in very Japanese landscapes. On which basis do you decide what the setting should be for any given film?
I have an extensive stock of images and paintings of landscapes that I made for use in my films. Which one I choose completely depends on the moment we start working on the film. Usually I make the choice in conjunction with my producer and it really depends on that moment. Because even from the moment I want to make a film, I continue to gather documentation. I travel with a lot of baggage around me, I have many images of the daily life in the world I want to depict. To make a film set in a bathhouse, like Spirited Away, is something I have been thinking about since childhood, when I visited public bathhouses myself. I had been thinking about the forest settings of Totoro for 13 years before starting the film. Likewise with Laputa, it was years before I made the film that I first thought about using that location. So I always carry these ideas and images with me and I make a selection at the moment I start making the film.
Other than some Japanese animation we get to see on this side of the world, your films always express a sense of positivity, hope and a belief in the goodness of man. Is this something you consciously add to your films?
In fact, I am a pessimist. But when I'm making a film, I don't want to transfer my pessimism onto children. I keep it at bay. I don't believe that adults should impose their vision of the world on children, children are very much capable of forming their own visions. There's no need to force our own visions onto them.
So you feel that the films you make are all aimed at children?
I never said that Porco Rosso is a film for children, I don't think it is. But apart from Porco Rosso, all my films have been made primarily for children. There are many other people who are capable of making films for adults, so I'll leave that up to them and concentrate on the children.
But still there are millions of adults that watch your films and who get a lot of enjoyment out of your work.
That gives me a lot of pleasure, of course. Simply put, I think that a film which is made specifically for children and made with a lot of devotion, can also please adults. The opposite is not always true. The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
Do you feel that telling stories in the particular way you do is necessary for us as humans?
I'm not a storyteller, I'm a man who draws pictures (laughs). However, I do believe in the power of story. I believe that stories have an important role to play in the formation of human beings, that they can stimulate, amaze and inspire their listeners.
Do you believe in the necessity of fantasy in telling children's stories?
I believe that fantasy in the meaning of imagination is very important. We shouldn't stick too close to everyday reality but give room to the reality of the heart, of the mind and of the imagination. Those things can help us in life. But we have to be cautious in using this word fantasy. In Japan, the word fantasy these days is applied to everything from TV shows to video games, like virtual reality. But virtual reality is a denial of reality. We need to be open to the powers of imagination, which brings something useful to reality. Virtual reality can imprison people. It's a dilemma I struggle with in my work, that balance between imaginary worlds and virtual worlds.
In both Spirited Away and Porco Rosso there are people who are transformed into pigs. Where does this fascination with pigs come from?
That's because they're much easier to draw than camels or giraffes (laughs). I think they fit very well with what I wanted to say. The behaviour of pigs is very similar to human behaviour. I really like pigs at heart, for their strengths as well as their weaknesses. We look like pigs, with our round bellies. They're close to us.
What about the scene with the putrid river god? Does it have a base in Japanese mythology?
No, it doesn't come from mythology, but from my own experience. There is a river close to where I live in the countryside. When they cleaned the river we got to see what was at the bottom of it, which was truly putrid. In the river there was a bicycle, with its wheel sticking out above the surface of the water. So they thought it would be easy to pull out, but it was terribly difficult because it had become so heavy from all the dirt it had collected over the years. Now they've managed to clean up the river, the fish are slowly returning to it, so all is not lost. But the smell of what they dug up was really awful. Everyone had just been throwing stuff into that river over the years, so it was an absolute mess.
Do your films have one pivotal scene that is representative for the entire film?
Because I'm a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene. In the scene in which the parents are transformed into pigs, that's the pivotal scene of that moment in the film. But after that it's the next scene which is most important and so on. In the scene where Chihiro cries, I wanted the tears to be very big, like geysers. But I didn't succeed in visualising the scene exactly as I had imagined it. So there are no central scenes, because the creation of each scene brings its own problems which have their effect on the scenes that follow.
But there are two scenes in Spirited Away that could be considered symbolic for the film. One is the first scene in the back of the car, where she is really a vulnerable little girl, and the other is the final scene, where she's full of life and has faced the whole world. Those are two portraits of Chihiro which show the development of her character.
Where do your influences lie as far as other films and directors go?
We were formed by the films and filmmakers of the 1950s. At that time I started watching a lot of films. One filmmaker who really influenced me was the French animator Paul Grimault. But I watched a lot of films from many countries all over the world, but I usually can't remember the names of the directors. So I apologise for not being able to mention any other names. Another film which had a decisive influence on me was a Russian film, The Snow Queen. Contemporary animation directors I respect a lot are Yuri Nordstein from Russia and Frederick Bach from Canada. Nordstein in particular is someone who truly deserves the title of artist.
What will be your next project? Are you working on anything at the moment?
We recently opened the Studio Ghibli museum. Maybe museum is a big word, because it's more like a small shack where we exhibit some of the work of the studio. Inside we have a small theatre where we will show short films that have been made exclusively for the Ghibli museum. I am responsible for this, so I'm currently working on a short film for it.
I'm also supervising a new film directed by a young director named Hiroyuki Morita. The film should open in cinemas in Japan next summer. It's very difficult to supervise another director, because he wants to do things differently from how I would do them. It's a true test of patience.
Does the incredible impact that Spirited Away has had in Japan change anything about your method of working?
No. You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well (laughs).
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发表于 2005-10-22 00:39:46
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